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Black Athena: the Afroasiatic Roots of Classical Civilization, Volume Iii, and Why Race Still Matters University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2011 Black Apollo? Martin Bernal's Black Athena: The Afroasiatic Roots of Classical Civilization, volume iii, and Why Race Still Matters Patrice Rankine University of Richmond, [email protected] Follow this and additional works at: https://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Rankine, Patrice. "Black Apollo? Martin Bernal's Black Athena: The Afroasiatic Roots of Classical Civilization, volume iii, and Why Race Still Matters." In African Athena: New Agendas, edited by Daniel Orrells, Gurminder K. Bhambra, and Tessa Roynon, 40-55. New York: Oxford University Press, 2011. This Book Chapter is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Black Apollo? 41 4 one. At the same time, we are no less concerned with origins now than we were in 1976, when George G. M. James published Stolen Legacy, the ostensible shifttowards a model of cultural appropriation 5 2 and influence (over that of a 'stolen legacy') notwithstanding. Aside fromansw ering the question of whether Apollo is in origin an African god, in the third volume Bernal helps us to consider why such an enquiry might still matter, even as we shift from a paradigm of 6 Black Apollo? cultural origins to one of hybridity. Although 'origins' might belong more to the culture wars of the Martin Bernal's Black Athena: The 1980s (in the United States, at least), the fact that the 'nagging Afroasiatic Roots of Classical Civilization, question', as it were, of origins will not go away became clear to me again quite recently. During a conference at NorthwesternUniversity volume iii, and Why Race Still Matters in March 2010 concerned with the relationship between Athenian drama and modern African American theatre,7 a participant repeat­ edly came back to an underlying assumption: did not the Greeks take Patrice D. Rankine theatre from Africa in the first place? The nagging question is, of course, one of authority: the inventor retains first claims; the con­ versation goes nowhere without a laying-out of the premisses; and who are we Classicists to speak with any clout about African Amer­ The question of whether the Greek god Apollo has roots in African ican theatre in the first place, when theatre began in Africa? The soil is taken up in Martin Bernal's third and final volume of Black question regarding the origins of theatre, which was never sufficiently Athena: The AfroasiaticRoots of Classical Civilization (2006). Akin to answered (and how could it have been?), attests to a number of the idea of a black Athena, with broader discussions regarding that fundamental principles: concerns about origins, although perhaps enquiry now well known, 1 the African Apolloquestion might seem to 'outdated' within academic circles, have not gone away as cultural many a misguided use of the theoretical tools from archaeology, capital; there is still a need for sensible, rigorous scholarship that historical and literary enquiry, and linguistics, all disciplines within classical studies. Certainly the idea of Greece as the proverbial birth­ place of civilization, sprung whole like Athena fromZeus's head, is no Greek language, but chose Indo-European instead. Such concessions seem even longer the vogue in classical studies.2 Bernal's own argumentation, of stronger in Black Athena, volume iii. See Bernal (1987, 2006). 4 late, suggests that such a view a ever only a dominant, not solitary, The point can be made simply through an overview of the introduction of 3 "". � Boardman et al. (1986). More recently, Page duBois (2010} has situated Sappho's one. Whatever the case, Class1c1sts now commonly discuss Greece poems and other ancient phenomena within the context of Asian parallels. as simply a part of a broader Mediterranean basin, albeit a crucial 5 George G. M. James's 1976 book Stolen Legacy certainly gave us a succinct way of referring to the idea that Egypt, and not Greece, is the origin of Western civilization. See James (2010). 6 1 or a broad discussion of the black Athena controversy, which included scholarly I am well aware that one of the charges against Bernalis that he did not in factuse � _ publications as well as videotaped academic debates, see Lefkowitz (1996) and Berli­ solid scholarly methods, but I respectfully disagree. It is time to step away from the nerblau (1999); for the issue of Afrocentrism, which brought the strongest storms in question 'Does he read Greek?' He does, and he is certainly a better Egyptologist than the backlash, see Lefkowitz (1997), Howe (1998), and Moses (1998}. Berlinerblau is the majority of Classicists. For a discussion, see Levine and Peradotto (1989), and Marchand and Grafton (1997). also thorough on Afrocentrism. 7 2 The idea is concomitant with 'the Greek Miracle' of the advent of science and The conference was part of the Andrew W. Mellon Foundation John E. Sawyer philosophy. See Bernal (2001). Series 2009-10, entitled 'Theater after Athens: Reception and Revision of Ancient 3 As early as Black Athena, volume i, Bernal offered that scholars like F. A. Wolf Greek Drama'. The instalment 'Greek Drama in African-American Theater' was held had laid out alternative paths of enquiry, such as questions of the Semitic roots of the on 12-13 March 2010. Black Apollo? 41 4 one. At the same time, we are no less concerned with origins now than we were in 1976, when George G. M. James published Stolen Legacy, the ostensible shifttowards a model of cultural appropriation 5 2 and influence (over that of a 'stolen legacy') notwithstanding. Aside fromansw ering the question of whether Apollo is in origin an African god, in the third volume Bernal helps us to consider why such an enquiry might still matter, even as we shift from a paradigm of 6 Black Apollo? cultural origins to one of hybridity. Although 'origins' might belong more to the culture wars of the Martin Bernal's Black Athena: The 1980s (in the United States, at least), the fact that the 'nagging Afroasiatic Roots of Classical Civilization, question', as it were, of origins will not go away became clear to me again quite recently. During a conference at NorthwesternUniversity volume iii, and Why Race Still Matters in March 2010 concerned with the relationship between Athenian drama and modern African American theatre,7 a participant repeat­ edly came back to an underlying assumption: did not the Greeks take Patrice D. Rankine theatre from Africa in the first place? The nagging question is, of course, one of authority: the inventor retains first claims; the con­ versation goes nowhere without a laying-out of the premisses; and who are we Classicists to speak with any clout about African Amer­ The question of whether the Greek god Apollo has roots in African ican theatre in the first place, when theatre began in Africa? The soil is taken up in Martin Bernal's third and final volume of Black question regarding the origins of theatre, which was never sufficiently Athena: The AfroasiaticRoots of Classical Civilization (2006). Akin to answered (and how could it have been?), attests to a number of the idea of a black Athena, with broader discussions regarding that fundamental principles: concerns about origins, although perhaps enquiry now well known, 1 the African Apolloquestion might seem to 'outdated' within academic circles, have not gone away as cultural many a misguided use of the theoretical tools from archaeology, capital; there is still a need for sensible, rigorous scholarship that historical and literary enquiry, and linguistics, all disciplines within classical studies. Certainly the idea of Greece as the proverbial birth­ place of civilization, sprung whole like Athena fromZeus's head, is no Greek language, but chose Indo-European instead. Such concessions seem even longer the vogue in classical studies.2 Bernal's own argumentation, of stronger in Black Athena, volume iii. See Bernal (1987, 2006). 4 late, suggests that such a view a ever only a dominant, not solitary, The point can be made simply through an overview of the introduction of 3 "". � Boardman et al. (1986). More recently, Page duBois (2010} has situated Sappho's one. Whatever the case, Class1c1sts now commonly discuss Greece poems and other ancient phenomena within the context of Asian parallels. as simply a part of a broader Mediterranean basin, albeit a crucial 5 George G. M. James's 1976 book Stolen Legacy certainly gave us a succinct way of referring to the idea that Egypt, and not Greece, is the origin of Western civilization. See James (2010). 6 1 or a broad discussion of the black Athena controversy, which included scholarly I am well aware that one of the charges against Bernalis that he did not in factuse � _ publications as well as videotaped academic debates, see Lefkowitz (1996) and Berli­ solid scholarly methods, but I respectfully disagree. It is time to step away from the nerblau (1999); for the issue of Afrocentrism, which brought the strongest storms in question 'Does he read Greek?' He does, and he is certainly a better Egyptologist than the backlash, see Lefkowitz (1997), Howe (1998), and Moses (1998}. Berlinerblau is the majority of Classicists. For a discussion, see Levine and Peradotto (1989), and Marchand and Grafton (1997). also thorough on Afrocentrism. 7 2 The idea is concomitant with 'the Greek Miracle' of the advent of science and The conference was part of the Andrew W. Mellon Foundation John E.
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